Home Artworks Natura morta 2° versione (Still Life - 2nd Version)

Natura morta 2° versione (Still Life - 2nd Version)


Single piece Signed Dated Titled Framed

From the series Analisi all'interno dell'immagine e della sua possibilità combinatoria (Analysis within the image and its combinatorial possibility)


59 x 74 cm
23.23 x 29 in







Print on emulsified canvas

1936 Milano, Italy

Aldo Tagliaferro was born in Legnano in 1936, a city in which he carried out, at an early age, an intense pictorial activity .

In 1963 he was offered the opportunity to move to Sesto San Giovanni to the "Quartiere delle botteghe," as it had been called by its creator, the building builder and collector Felice Valadè, who had made some 20 studios available to artists in exchange for paintings .

For that opportunity, a group of artists had been formed who represented the most significant trends of the moment: from the new figuration of De Filippi and Ceretti to the sign-like figuration of Verni and Bionda, from the object research of Castellani and Bonalumi to the conceptual of Fabro.

In this context he got to know and deal with these artists.

After a short period of reconsideration of his work he identified his own problematic: from 1965 he began a research that aims to be "documentation" and critical analysis of the socio-political context and human behavior.

In order to be closer to reality he uses photographic images, retrieved from the news because they are testimonies of "events," which through elaborations, he returns in a critical sense.

On this path he seeks formal solutions to restore to the image that initial emotionality that habituation had "corroded," also using contrasting images and differentiated repetition of the same image.

He exhibited his first work with photographic images at the San Fedele painting prize in Milan in 1965, a work that provoked much discussion, as in a debate critics had argued that photography "was not painting" .

In those days exhibiting photographic works in the spaces traditionally occupied by painting was not easy: photography was considered a 'minor art and to be able to pose such research in these spaces was already a consolidation of one's work .

In 1968 he joined Mec-Art, then from 1971 he continued his photographic research independently . From political '68 he has a moment of reflection on the usefulness of still making socio-political work . Between 1968 and 1969 he orients his research on the multiple possibilities of the use of the photographic image; among the various researches: "Fusible Images," as the possibility of making two images interact; the use of film paper, to obtain repetitive images but differentiated in color; the emulsified canvas, also using a screen as an element of clotting or scanning the image.

In his work experimentation is very evident .

In 1970 with "Verification of an Exhibition," wanting to continue to work on reality he begins to use photography directly; during one of his exhibitions he "records" events and makes an analysis of the fruition of the work of art, relating the rituals of the exhibition and the behavior of the viewer, work that is then added to the exhibition itself.

Formally, the work is developed with strips of photograms enlarged and displayed on an inclined plane, thus beginning a research on the macro-image and proxemics of the artwork's friction.

Invited in the same year to the Venice Biennale to produce an artifact within the exhibition space, he instead uses the occasion to make a critical and ironic analysis of the role of the artist in a preconstituted condition, contarring as an ironic element the zoo and its regulations, in "Analysis of an Operational Role."

An anaologous work is "Temporal Stay-Eternal Stay" of 1972, in which he again uses images in juxtaposition, critically analyzing the rituals associated with the ceremonials of death , in which even one's own grief is "advertised" as if it were

a consumer product .

His research, in addition to critically examining events in the social context, in 1973, with the work "Memory and Identification as Overlapping Reality," moves in a more specific direction of human behavior and, analyzing various aspects, develops an investigation of memory and identification, placing them in relation to reality.

Tagliaferro in his path not only contrasts interacting images but also contrasts issues. With "Analysis of Fetishism," from 1976, he again moves "outside" by fixing "signals" of our context and verifies the multiple possibilities of reading an image when it is isolated and transferred from its context, proposing it using a formal solution where the viewer remains contained in the image itself.

It is still worth pointing out that his analyses always have a reference in reality, as Tagliaferro reiterates in "Highlighting through the Everydayness of Living," 1977: with a "recording" of the real and unconstructed he makes an analysis on human instinct and rationality.

With the work "The I-Portrait" of 1979 , the artist questions himself by representing his half-positive and half-negative "image" .

In 1979 Tagliaferro moved to Africa, where he stayed for a couple of years, coming into contact with African culture; he was attracted, in particular, to one of the last traditions still present: hairstyles.

These, with the 1983 cycle "From Sign to Writing," are analyzed for the "sign" they trace.

With the latest work " Above/Below-A meter of earth," the artist returns to the intimist analysis with which he explores the relationship between his own self and the outside in a temporal relationship.

In his works, Tagliaferro always uses formal solutions that help to highlight issues; in the latter, he always uses two parallel series of large images interacting, as in some previous works.

As the author argues, in the micro-image it is the viewer who controls the image, while in the macro it is the image itself that interacts on the viewer.

Aldo Tagliaferro died in Parma on January 30, 2009; he is buried in Bazzano (Parma), in the Emilian Apennines, where he lived and worked for the last 25 years of his life .


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